The Art of the Cigar Label
A.AMO
BVA TAMPA.
&CO. LA
FLA.
An exhibition by the Ybor City Museum Society
with assistance from the University of South Florida
Libraries' Special Collections
Curated by: Emanuel Leto
"True, our pictures are many of them for the soap manufacturer, the insurance companies, and the patent medicine man; but we try in our way to be educators of the people ,
and to give them good drawings and harmonious coloring. These business operators of ours
who use pictures for advertising purposes know that the public have become fastidious;
hence, they will only accept good designs. It is not so very long ago that advertising pictures
invariably had hard, glaring backgrounds and crude, contrasting colors ... but that type of
work would find no sale now except in the back woods." Anonymous lithographer, New York, 1894 1
At first glance, the images on cigar labels seem simple; they are beautifully embossed and the illustration- whether an attractive woman or a famous writer- jumps out at the
viewer. However, cigar labels of the late 19th and early 20th centuries are also rich in allegory
and symbolism, subtly illustrating themes like commerce, trade, or U.S. foreign relations.
Label themes "reflect the tobacco industry's important influence on the economic, social,
and political climate of Cuba and Florida cities like Key West and Tampa," 2 becoming
"windows to the past," depicting contemporary events, political leaders, celebrities, and social life. A look at cigar labels also reveals quite a bit about America in the Gilded Age, from
roughly 1870 to 1920. Cigar labels are among the earliest forms of popular advertising, illustrating the country's shift from industrial economy to consumer economy, from life on the
farm to life in the city.
Crossroads: Transportation, printing, revolution, and the consumer economy
Initially, the selling of hand-rolled cigars was a cottage industry. Prior to the Civil
War, cigars were only a small part of overall tobacco consumption, easily outpaced by snuff
and hand-rolled cigarettes. Farmers sold their product in small bundles, tied together with a
cloth ribbon, to local traders and dry goods stores in and around their local community.
There were no standardized bundle sizes, no need to label the cigars individually, and no
need for competitive advertising. After the Civil War, several developments aided the rise of
the cigar industry and the colorful labels that helped sell them.
In 1865 Congress passed the Tax Revenue Act, requiring standardized packaging and
tax identification numbers for all tobacco products. All cigars were now boxed and stamped
with a factory number to identify the manufacturer, a "tax district number" identifying the
city of origin, and the quantity contained in the box. 3 Standardized packaging and labeling
actually aided sales and worked well in the emerging consumer economy.
In 1869 workers completed the transcontinental railroad. By 1889, 161,272 miles of
rail lines connected the continent, 4 revolutionizing the flow of people and goods throughout
the country. Mileage in the South tripled as Henry Plant completed his rail line in 1884.
Goods could now be shipped thousands of miles away from the factories that produced them to be displayed in shop windows in dozens of American cities. And, as the
Twentieth century approached, the population of American cities was growing.
Moving from small farming communities to big
cities meant that many of the goods produced on
the farm, items such as soap and clothing, were
now sold and purchased in city stores. This also
included luxury items like whiskey, beer, and
tobacco, now taxed and regulated by the government.
\>-
~
. 1-z. ...
C1
Left: Henry Plant's rail line was completed
in 1885, connecting Tampa with cities to the
North. The Transcontinental railroad was
completed in 1869 and by 1900, 200,000 miles
of track were laid throughout the US allowing goods to be shipped faster and farther
than ever before. Courtesy: Henry B. Plant Archives
In addition to the completion of the Transcontinental railroad and the imposition of new regulations on tobacco, other events coincided that
I
gave birth to the modem cigar industry. In 1868,
Cubans, fighting for sovereignty, began a revolution against Spain. From 1868 to 1878,
revolutionaries waged war against their colonial oppressor. Escaping forced conscription and
the eminent destruction of a coming war, Cuban workers and cigar manufacturers escaped
the island, many relocating to Key West in 1868. The small island off Florida's southern tip
was quickly transformed, becoming a major cigar-manufacturing center and Florida's busiest
port. Eventually, cigar manufacturers like Ignacio Haya and Vicente Ybor consolidated their
efforts in Tampa, taking advantage of Henry Plant's newly completed rail line connecting
Tampa to northern cities and markets. Founded in 1886, the company town eventually became known as Ybor City.
-
.---
-
U.RC>-
rM""""7a
. l _,
Cubans and Spaniards were not the only people on the move. Germans, in the wake
of unification under Otto Von Bismarck, were also :fleeingtheir homeland. Among the many
German immigrants were lithographic printers and artists escaping Bismarck's Socialist dissolution of workers' unions. 5 Most settled in the Northeast United States, establishing printing houses in Philadelphia, Boston, and New York. In 1860, there were 60 lithographic firms
in the United States employing 80 people. By 1890, there were 700 lithographic printing
houses, employing 8,000 people. 6
The Evolution of the Stone Lithography
Lithography or "chemical printing" revolutionized the printing industry. With lithography, it was possible to print hundreds of duplicate copies from a single image drawn directly onto a stone without reducing the quality of the image.
Alois Senefelder, a German printer, invented stone lithography in 1796. It is a Planographic process, meaning that images are not carved or cut into the printing stones. Rather,
lithography is based on "the natural antipathy between water and grease."
Alois Senefelder, inventor of stone lithography
Early lithographic hand press
Courtesy University of Wisconsin-Madison
There is both an artistic and a technical aspect to lithographic printmaking. Traditionally, Bavarian limestone is cut into large slabs, three to four inches thick. To prepare the
stone for printing, it is first sprinkled with an abrasive and rubbed together with another
stone in a process called graining until the surface of the stone develops a silt-like or velvety
texture. The stone is now ready for the artist.
Using a grease pen or crayon composed of wax, tallow, shellac, soap, and lampblack;
the artist draws an image directly on the stone. Like all paper printing processes, the artist
must draw a reverse image. Once the artwork is complete, the stone is doused with a slightly
acidic solution of gum arabic, water and nitric acid, called an etch. Next, the stone is rinsed
with water; the acid solution sticks to the grease drawing but is washed away from the rest of
the stone leaving only the image to be printed.
With the image set into the stone, a roller of black ink is applied to the entire surface.
The artwork, created with a grease crayon and set into the stone by the acid solution, retains
the black ink while the rest of the dampened stone repels it. The stone is now ready for printing7.
Chromolithography follows a similar process except instead of one stone, several different stones comprise a single print. With chromolithography, each section of the image
must be dissected by color. The different colors make up the picture itself and complex
prints could require as many as twenty different stones. A printer must know how each color
will work together, in what order they should be applied, and, finally, the print must remain
in perfect registration so that colors do not bleed onto one another.
"Roughly, there are four [questions]: 1, how to divide the image into a particular number of color
printings, 2, which inks to use, 3, how to register exact impressions with each successive color and 4, how to
8
decide the order of printing. "
An English immigrant, William Sharp, printed the first American chromolithograph
in Boston in 1840. From Boston, chromolithography houses opened in Philadelphia, New
York, Buffalo, and Cincinnati. New York became what many consider the center of chromolithography in the 19thcentury. New York was the hub for shipping lithographic supplies like
limestone, ink, and presses from Germany and, by 1890, the New York City directory listed
130 lithographic printing houses.
Many of those lithographers were educated or influenced by Germany's Dusseldorf
Academy, founded in 1826. The school's influence, known for its attention to line and precise detail, is evident in the meticulous lithographs of streetscapes and nature landscapes
popular in the 1880's and 1890's. Today the Academy is little more than a footnote of art
history. However, "the style of Dusseldorf art lent itself to the technique of chromolithography: all the artists worked in the Dusseldorf manner, from line to color." The political upheavals of 1848, the unification of Germany in 1870, and the flow of supplies from Germany
through New York City ports, furthered the influence of German immigrants in the printing
industry. 9
Lithography and chromolithography became one of the most popular art forms of the
19thcentury. Companies like Currier and Ives and Louis Prang are synonymous with the industry, chronicling the people and cities of 19th century America. Called the "Democratic
Art," lithography made it possible for middle class Americans to buy lithographed reproductions of famous works of art. "Fine Art was reproduced, packaged, and offered to the
masses ... it was the democratic art of the Post- Civil War." 10
Chromolithography's ability to inject vibrant color into everyday scenes and images
made it ideal for advertising. P.T. Barnum used colorful posters to dramatize his traveling
circus and the era saw a boom in poster advertising. Color labels were affixed to everything
from peach crates to cigar boxes. According to one historian, "cigar advertising made up 80
percent of all lithographic printing in the U.S." People had gone, in the words of one lithographer, "picture crazy." Without a doubt, chromolithography became "the principle color
medium for advertising" in America, coinciding perfectly with the development of massproduced consumer goods. 11
The Need for Advertising
The railroad connected America like never before. People and goods traveled quicker
and with more frequency to seemingly distant places within the American landscape. More
people were living in cities with more products and more choices than were available in rural
communities. Productivity was on the rise as well. Goods were made cheaply and more efficiently, pre-packaged, and shipped to new, far-away markets. These rapid and complex
changes in the American marketplace required manufacturers develop a new strategy to entice consumers into buying their products. Advertising was the answer.
Manufacturers used packaging as a way to differentiate their product within a
crowded marketplace and consumers began to rely on brand names to differentiate between
"essentially similar products." Before advertising, "tobacco was tobacco and soap was soap."
Using copyrights, patents, and brand names, manufacturers could make their product seem
unique or different from their competitor's and advertising reinforced a product's perceived
special qualities. 12
Outer labels were pasted onto boxes at
the factory. YCMS Collection
Department stores and chain stores met the demand of growing urban populations.
For example, Woolworth operated about 600 outlets by 1913.13 Window-shopping soon became a popular pastime in the newly emerging consumer economy and window displays
were a primary form of advertising, second only to print ads. 14 Instead of being stacked on
shelves behind the counter, cigars boxes were now displayed with their lids open. Capturing
a customer's attention became as important as the quality of the cigar itself.
l'I"
ar •- • •...,
J
CIGAR
By the last quarter of the 20th
Century, cigar boxes were displayed -as they are today with
their lid open. Labels became a
primary means of attracting customers Robertson and Fresh
Photographic Collection Courtesy YCMS Collection
Label Themes
Label themes vary widely. Generally speaking, any image that might appeal to men
was printed on labels to help promote cigars. Women, sports, trains, fast cars, and military
imagery were all used to capture a man's imagination. Dozens of themes with hundreds of
variations are found on cigar labels from Tampa's estimated 300 cigar factories. From the
construction of Tampa's first cigar factory in 1886 to the industry's decline in the 1930's, no
one is certain exactly how many factories were in operation. However, over this fifty year
span, thousands of different labels were printed for hundreds of factories in Ybor City,
Tampa, and West Tampa depicting everything from pretty girls to Abraham Lincoln.
Sex Appeal
For obvious reasons, sex appeal is one of the most popular themes found on cigar
labels. Perhaps nothing grabs a man's attention like a scantily clad woman and cigar labels
are full of them. To entice their mostly male customers manufacturers used sexy celebrities
of the day like Julia Marlowe and Fanny Davenport, both popular stage actresses. Tampa
Beauties, Tobacco Girl, and Miss Tampa all feature attractive young ladies and hundreds of
other labels feature women as goddesses, angels, cowgirls, princesses, temptresses, or housewives. Women of cigar labels range from innocent or demure to sultry or pornographic.
Half-dressed women were common and a few early labels feature completely nude women.
The La Eva label, produced for A. Amo and Company , is a good example of how
labels employed sex appeal to sell cigars. The bare-chested "Eva" holds a wooden box,
which she has opened slightly, releasing a trail of ghostly demons and devils. For its time,
circa 1900, the label is fairly racy, even erotic and was sure to stand out in a market crowded
with competitors.
The sultry "Eva" releases a Pandora's Box
of evil spirits. The La Eva brand was registered by A. Amo & Co. and designed by
American Lithographic Company, the largest lithography house in New York City.
Courtesy USF Special Collections.
AAMO
aco.
LA
BY.A.
TAMPA.
FLA.
Often, attractive women are only part of a label's message. Many labels featuring
women, while eye-catching, are filled with symbolic imagery. In these allegorical labels, mechanical gears, bales of tobacco, maps, and ships are often pictured in the background or
margins and feature women dressed in flowing Roman togas. The use of symbols and symbolic imagery to convey deeper meaning is common in works of art. Traditional symbols
such as musical instruments, fruit, trees, and geometric shapes like triangles and circles have
been used in Western art since biblical times. 15 Cigar labels are no exception.
The La Gran Via label, printed for A. Amo and Company, is filled with several duallayered images. A woman standing in front of the ocean holds two laurels. She is surrounded
by eight symbolic images: a train, a ship, a globe, wheat, tobacco, a camera, a harp, and an
artist's pallet. Why did the artist choose these items? What do wheat and a harp have to do
with cigars or each other? The answer is that the images are symbolic; they represent larger
themes and ideas.
"The metaphprs of symbol, image, and icon work by analogy and allusion; they refer to something
beyond themselves to something else; they invite comparison between two things which appear to be dissimilar
but which, [advertisers] suggest, have a shared meaning . Metaphor is at the very heart of.. .modem advertising."16
The La Gran Via is filled with symbolic imagery.
The woman, an allegory for the Republic in a
dramatic flowing gown, holds victory laurels
while surrounded by several classic symbols: a
Havanatrain, wheat, a globe, a harp, an artist's pallet
filler and bales of tobacco. The red hat or "Liberty
Cap" is commonly associated with revolutionary
movements and has appeared in images of the
American and French revolutions. The triangle
centered behind her head may be a Masonic reference. YCMSCollection
Manai1tl11etlA. A MO & CO. Tam,a, fla.
The woman is shown holding two laurels, commonly associated with victory. When
featured in cigar labels, laurels probably suggest the quality of the cigar brand. Wheat, which
is on the ground next to the woman, often denotes fertile earth or abundance, while harps are
associated with mortality and protection. Trains, ships, and mechanical gears, all of which
are depicted in the La Gran Via label, can represent trade, industry, or commerce, and the
camera is also likely a symbol of technological advance or progress. The most intriguing
symbols are the woman's red hat, a symbol of the Revolution, and the triangle centered just
behind her head, probably a symbol of the Masonic Order. Symbols like these and others
such as anchors, cherubs, children, crowns, angels, wreaths, coins, crosses, and stars, are
found in hundreds of cigar labels. The greater meaning associated with these symbols, however, is often overlooked. 17
Romantic Imagery
Sex appeal was one way cigar manufacturers could grab the attention of their mostly
male clientele but it wasn't the only way. Many labels offer romanticized images of Native
Americans, nature, mythology, or nobility. Collectively, these "Romantic" labels depict a
fictionalized version of a time, place or person. Pirates, like the one featured on the Captain
Alvarez label or the knight in armor featured on the Ivanhoe brand, conjure the romantic or
heroic ideals associated with swashbuckling pirates or "knights in shining armor." As one
author describes it, "historical reality seldom had anything to do with pictures on cigar labels." 18
Images of Native Americans were also popular. Romantic labels usually depict partially nude or otherwise attractive Native women or strong, war-like chiefs. The "Noble Savage" is a popular theme in early American advertising. The idea that Native Americans were
(or are) noble and courageous yet less evolved or "savage" permeates much of porular
American culture and found its way onto cigar labels of the late 191h and early 201 century.
These images played into "ingrained stereotypes" of the "nobility of the Red Man." Whether
portrayed as objects of seduction or manly toughness, these romanticized stereotypes created
a fantasy world designed to appeal to a male consumer. 19
I
l't""~·~,,
lOilflAI.Vi.RU
HO
CAPTAIN
ALVAREZ
"f".AMP,I\•
rLOPIOA
Captain Alvarez, registered in 1916 and the 1928 Ivanhoe label provide a touch of manly
romanticism. "Romantic" labels featured everything from Roman warriors to heroic
world leaders like Charles the Great. YCMS Collection
Americana
Collectors often place trains, ships, maps, famous buildings, and family scenes into
separate sub-categories. However, the use of such images constitutes a more general theme
found in cigar label art: the celebration of American culture, or Americana.
Jose Alvarez & Company in Tampa registered the DO UNO label in 1913. This extremely rare label featu ring two young boys, one working class, the other a white collar aristocrat, offers a playful glimpse of American city life or at least how it might
have been perceived in the early 20th century. Courtesy U.S.F. Special Collections
Trains, while usually grouped into a category by themselves, more likely were used
to illustrate the success of the intercontinental railroad, recently completed in 1869. The railroad system was revolutionizing America; new tracks and connections were made every
year. Between 1869 and 1900, over 200,000 miles of track were laid. 20 It is no wonder that
cigar labels celebrated this achievement. Images of sports cars, trains and ships appealed to
consumers because they celebrated American ingenuity, American industry, and American
culture.
Tampa Life features the Tampa Bay Hotel,
one of the city's most recognizable landmarks. It was originally registered by the
Preston Cigar Company. YCMS Collection
MADE IN TAMPA
TAMPAUFE
Celebrity
Cigar labels may be the earliest known use of celebrity endorsement to sell a product,
a tactic common throughout modem advertising. Indeed, "a list of all the people whose faces
have adorned cigar labels would run into the thousands." 21 Images of writers, actors, vaudevillian performers, politicians, generals, philosophers, judges, explorers, kings, queens, and
literary characters have all been used to sell cigars. Collectors may also choose to subdivide
this category into writers, philosophers, or generals. Indeed, there are so many-from Karl
Marx to Charles the Great- that the possibilities are nearly endless. Many celebrity labels
such as Mark Twain or Samuel Gompers could even fit into the "Americana" category, synonymous as they are with American culture. Both Twain and Gompers were recognizable
"celebrities" but they also represent something uniquely American.
Even William Shakespeare, "The Bard of
Avon" was used to market cigars in this Sanchez and Haya Label. Aaron Copeland,
Mozart, Mark Twain, and Cervantes all had
a label named in their honor. Courtesy U.S.F.
Special Collections
Patriotism
By 1895, the United States was readying itself for war in Cuba. The Cuban Revolution, led by Jose Marti and others, was sparked in 1895. In fact, the message to begin the insurrection was sent from Tampa, the order secretly rolled inside of a cigar. Cigar manufacturers quickly capitalized on the nationalism and patriotism surrounding the Spanish American War (1898-1902), using patriotic images on their labels to sell cigars.
Theodore Roosevelt's Rough Riders, Cuban revolutionary leaders, and American and
Cuban soldiers all appeared on cigar labels in the years just before and after the war. The
American Heroes for E. Regensburg and Sons, and Friend to Friend for Corral, Wodiska
and Company, used images of the Spanish American War to promote their brands and Little
Sammies, featuring the Statue of Liberty flanked by two twin Uncle Sams, captured the patriotic spirit of war.
"LITTLE
SAMM
IES"
J
Mii.iD
TAMPIO· CUIIA
CIGAR CO.
TAMm-A
MADII:
urrLE
SAN11rs
Ii ;
TAM
PA
FLA
.
,
Two Proud Uncle Sams guard Lady Liberty in this patriotic Little Sammies label registered for the Tampa Cuba Cigar Company. Patriotic images were common, especially
during the brief Spanish-American War. Courtesy U.S.F. Special Collections
The Pinar Del Rio label is another example of a patriotic theme, though more subtly
illustrated than Little Sammies, employing previously mentioned allegories and symbols.
The label features a statuesque Lady Liberty holding a red, white, and blue coat of arms. She
extends a laurel, apparently crowning a young Cuban boy dressed in peasant's tattered overalls. The boy rests his hand on a mechanical gear while seated on a bale of tobacco. An inscription behind them reads, "Pinar Del Rio," the tobacco-producing region of Cuba.
Through the use of these symbolic images, this label says quite a bit about the relationship
between the United States and Cuba at the turn of the century.
Treaty Bond, a label trademarked for the Antonio Cigar Company, demonstrates patriotism of a different kind. The Treaty Bond label features portraits of Thomas Jefferson
and Napoleon Bonaparte on either side of a scroll on which a map of the Louisiana Purchase,
dated April 30, 1803, is illustrated. Although this label could fit into several other categories
such as "Americana" or "celebrity" the bigger message is American pride and patriotism.
The Treaty Bond label features Napoleon,
Jefferson, and a map of the Louisiana Purchase. YCMS Collection
IOc
Gilded
"Given the free-enterprise climate of the day cigar labels could say or picture most
anything." 22 Many cigar manufacturers opted for gilded textual labels that issued claims and
guarantees. As the techniques of gilding and embossing gained prominence, cigar makers
adorned their labels with gold coins or medals and awards conferred by expert judges. Printers would brush labels with bronze leaf or, in very rare cases with actual gold leaf, giving the
embossed image of a coin or medal a bright finish. Lithographers referred to the process as
gilding.
This 1909 Tampa Elite label for Carlos Toro
Cigar Company fea tu res the official City of
Tampa seal surrounded with ornate gilding
and embossed crests and shields. Courtesy
U.S.F. Special Collections
Textual labels could be quite simple, stating the manufacturer and price of the cigar
or, they could make outlandish claims about the health benefits of smoking their product.
Many embossed and gilded labels are strikingly ornate and intricate using coins , crests, official seals and the like. Smaller manufacturers and buckeye shops employing only a few cigar
rollers used simpler textual labels rather than the elaborate and expensive labels used by larger firms.
Collecting
Because they were mass-produced, cigar labels are ignored by much of the art community. "The general stereotype in much of the art world is that this is not a true art form.
The consequence being that some of our finest artwork produced by stone lithography has,
until recently , been completely overlooked. "23 This attitude is beginning to change. Several
exhibits and books have catalogued and studied the use of cigar labels and advertising art in
general. Among collectors, cigar labels are bought and sold at conventions and through online auction houses like E-Bay . Some very rare labels could gamer several thousand dollars.
Original lithographs of street scenes and historic battles like those produced by Currier and
Ives or Louis Prang , are now quite collectible and are researched and studied by art historians. So are the vivid chromolithograph circus posters of P.T. Barnum and the vaudeville advertisements of Toulouse Lautrec. Cigar labels are only now beginning to see this kind of
serious attention.
Endnotes:
IArt Amature, December, 1894, p. I 5, quoted in Marz io, Peter C. The Democratic Art: Chromolithography 1840-1900, Pictures for a I 9'h
century America, Boston: David R. Godine, 1979; 189.
2
Etched in Stone: The Golden Age of Cuban Tobacco Art. 1996. Video. Cinemambi, lnc.
3
Hyman, Tony. Handbook of American Cigar Boxes. New York: Arnot Art Museum, 1979.
4
No rris, James D. Adver tising and the transformation of American Society, / 865-1920, Greenwood Press: New York, 1990.
5
Westfa l, L. Glenn Tampa Bay: Cradle of Cuban liberty, Cigar City Press, 200 I.
6
Marz io, Peter C. The Democratic Art
7
There are many histories and instructional guides for Lithography and Chromolithography. Consulted studies include, Vicary, Richar d.
Manual of lithography. New York: Charles Scribn er's Sons, 1976., Porzio, Domenico, ed. lithog raphy: 200 Years of Art, History, and
Technique. New York: Harry N. Abrams, Inc, 1982., Loche, Rene. Craft and Art: lithography. Paris, 197 1., and Chilvers, Ian and Harold
Osborne. "Oxford Dictionary of Art: New Edition," New York: Oxfor d, 1997.
8
Marzio, Peter C. "The Democratic Art "
9
lb id. By far, the best study of chromolithography, its history, techn ique and influence is Marz io's "The Democratic Art."
IOJbid.
11
The University of Wisconsin at Madison hosts an excellent website detailing the rise of color lithography and mass-market advertising
ent itled, The Emergence of Color in lithographic Printing and can be accesse d at http://www .sit.wisc.edu/-s chawl a/Circus %20Poster"/o
20Web%20Site /Circus%20homepage.html also see Westfa l, L. Glenn " Tampa Bay: Cradle of Cuban liberty."
12
Sivulka, Juliann. "Soa p, Sex, and Cigare ttes: A Cultural History of American Advertising," Wadsworth Publishing Co.: Belmont,
CA: 1998, Ch. 2-3
13
Jbid.
14
• "Adver tising and the Transformation of American Society, / 865- 1920."
15
Cooper, J.C. "An Illustrated Encyclopedia of Traditional Symbols," London: Thames & Hud son, I 978.
16
Leiss, William , Stephen Kline and Sut Jhally. "Soc ial Comm unication in Advertising: Persons, Products and Images Of Well-Being,
Seco nd ed, ,"
17
"An Illustrated Encycloped ia of Traditional Sy mbols."
18
Hyman, Tony. "l /andbook of American Cigar Boxes."
19
lbid .
20
"Advertising and the transfor mation of American Society, /865- / 920."
21
Hyman, Tony. "Handbook of Amer ican Cigar Boxes. "
22
lb id.
23
Etched in Stone: The Golden Age of Cuban Tobacco Art. 1996.V ideo. Cinemambi, Inc.
...
Exhibit Sponsor s
~IN
..UNIVERSITY OF
.!.._•..,_
...l!!• SOUTH FLORIDA
Objects in this exhibit were loaned by the University of South Florida Libraries' Special Collections, Tampa.
Special Collections at USF Libraries collect, maintain, preserve, and provide access to research materials of cultural and historical significance. Floridiana - the Tampa Bay region,
in particular - is collected, as are rare books, photographs, and maps. These materials are
separately housed in the Libraries' Specia l Collections due to rarity, fragility, or other special factors.
J.C.NEWMAN
CIGAR
Co~
Fulfillit1gthe PromiseSince 1895-
Additional funding provided by The Newman Foundation.
Published with the support of the City of Tampa, the Arts Council of Hillsborough County
and the Hillsborough County Board of County Commissioners.
The Museum Society would like to recognize David Pullen and Tommy Vance for their advice and support of this exhibit.